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'Hyperion and the Consort celebrate a decade together – fifty CDs – with an anthology of delights. Consistency of performance and of engineering is a ...'I must admit to being quite bowled over by this record. There is something especially infectious about Robert King's music-making [and] the recording ...» More

The rich scoring of Solomon is nowhere more apparent than in the ecstatic instrumental writing heard at Solomon’s dedication of his new temple. In a majestic accompanied recitative, which gives as much importance to the opulent orchestral interludes as it does to the fine solo vocal line, divided violas and two solo bassoons create a sumptuously dark interior to the orchestral sound which is quite unique in all Handel’s oratorios and turns an accompanied recitative into one of the composer’s most memorable descriptive movements.

Solomon: What though I trace each herb and flow’r, That drink the morning dew, Did I not own Jehovah’s pow’r, How vain were all I knew!

Say what’s the rest but empty boast, The pedant’s idle claim, Who having all the substance lost Attempts to grasp a name.

Handel’s Solomon, first heard at Covent Garden in March 1749, was a sumptuous score requiring double chorus and a large orchestra. Following four bellicose oratorios, Handel turned now to subject matter which presented a picture of a civilization in its golden age. There was probably a parallel to be drawn with England under George II, but Handel was also moving into his final phase of oratorio composition, choosing subject matter which matched his own personal beliefs. In Act I of the oratorio, after presenting the grand inauguration of Solomon’s newly completed temple, Handel moves the listener away to an idyllic countryside, where Solomon is in humble mood. In E major (the same key as ‘Yet, can I hear that dulcet lay’) Handel once again produces a gem, with a wonderful melody set over a gently flowing string accompaniment. The melody was later adapted as the hymn tune ‘Solomon’.

Solomon's wife: Welcome as the dawn of day To the pilgrim on his way, Whom the darkness caus’d to stray, Is my lovely king to me;

Solomon: Myrtle grove, or rosy shade, Breathing odours through the glade To refresh the village maid, Yields in sweets, my queen, to thee.

After the opening celebrations of Act I, Solomon welcomes his wife, Pharaoh’s daughter (not to be confused with the Queen of Sheba, who does not appear until Act III), and promises her a new palace. We are left in no doubt as to the attraction Solomon feels for his queen and, to reinforce this feeling, Handel provides a hymn to their undying love. Set over a walking bass, ‘Welcome as the dawn of day’ is one of the composer’s most radiant duets, full of delicious interplay between the two soloists. The orchestral backing is beautifully judged, echoing the singers’ cooing ‘my queen’, ‘my king’ in the violins in octave jumps, whilst enhancing the solo lines with glorious countermelodies.

Solomon's wife: Welcome as the dawn of day To the pilgrim on his way, Whom the darkness caus’d to stray, Is my lovely king to me;

Solomon: Myrtle grove, or rosy shade, Breathing odours through the glade To refresh the village maid, Yields in sweets, my queen, to thee.

After the opening celebrations of Act I, Solomon welcomes his wife, Pharaoh’s daughter (not to be confused with the Queen of Sheba, who does not appear until Act III), and promises her a new palace. We are left in no doubt as to the attraction Solomon feels for his queen and, to reinforce this feeling, Handel provides a hymn to their undying love. Set over a walking bass, ‘Welcome as the dawn of day’ is one of the composer’s most radiant duets, full of delicious interplay between the two soloists. The orchestral backing is beautifully judged, echoing the singers’ cooing ‘my queen’, ‘my king’ in the violins in octave jumps, whilst enhancing the solo lines with glorious countermelodies.